Space
It is rather intriguing that the term ‘space’ has various meaning in terms of the subject matter, generally, it can be described as a boundless and three-dimensional extent in which objects and events occur and has relative position and direction. However, in art, space can be described as either two-dimensional or three dimensional. It is universally acknowledged that the renaissance is a cultural movement which entirely changed the course of art, and encompassed a resurgence of learning based on the development of linear perspective and atmospheric perspective in painting - the space in two dimensional artworks. Linear perspective and atmospheric perspective are quintessential techniques developed by many honorable artists during the renaissance, which creates illusion of depth.
On the other hand, three dimensional space in art refers to height, width and depth which can be seen as a geometric model of the physical world we live in. In addition, three dimensional art often uses positive and negative space to unfold the essence of the piece. In art, particularly in sculpture, negative space refers to the space around and between the subjects of an image and positive space may be the subject to reside itself.
The positive space in this masterpiece by Henri-Gaudier is absolutely sensational, the simplicity it demonstrates with elementary geometrical shapes doubtlessly creates a sense of tactility. In my opinion, it almost magically absorbs the viewer into the sculpture’s own positive space and places us in a thinking process which fulfils our imagination. In addition, the negative space created around the piece is perfectly in tune with the sculpture itself and its openness also leaves the viewer the chance to observe from various aspects and thus provide them the opportunity of appreciation.
Sunday
Formal Elements(Form&Shape)
Form & Shape
In terms of art, form refers to the shape, visual appearance and perhaps the configuration of an object. In fact, the difference between form and shape is that form has both mass and volume, whereas, shape has only mass. In other words, shape can be seen as the physical form, it is the essential element in composition. It consists of point, line, curve and plane; it has transformable and two dimensional properties which can be combined with other visual elements to produce the sense of space.
As an extraordinary element in composition, artists often regard shape as the key to a successful and thought provoking piece of art. In essence, it accomplishes variety and conveys emotions and thoughts throughout an artwork. In some sense, shape, the external and physical form, often can be manipulated and creates illusion of three dimensions on a two dimensional surface and also appear on the surface of a three dimensional.
The massive, quirky and phallic sculpture ‘Rock Drill’ by Jacob Epstein is certainly a perfect example of three dimensional works transformed into two dimensions first, and then transformed back to three dimensions. The idea of ‘Rock Drill’ first encountered the talented young sculptor in the pre war days, it was created due he his ardour for machinery and perhaps his sexual craziness. The central shape of this masterpiece is triangular, the kickstand of the machine gun gathers together into the genitalia point which is extremely priapic. In addition, the triangular shape is also a sinister figure Personally, I think the triangular shape of this piece subtly indicates the theme, which are phallism and gender domination.
In terms of art, form refers to the shape, visual appearance and perhaps the configuration of an object. In fact, the difference between form and shape is that form has both mass and volume, whereas, shape has only mass. In other words, shape can be seen as the physical form, it is the essential element in composition. It consists of point, line, curve and plane; it has transformable and two dimensional properties which can be combined with other visual elements to produce the sense of space.
As an extraordinary element in composition, artists often regard shape as the key to a successful and thought provoking piece of art. In essence, it accomplishes variety and conveys emotions and thoughts throughout an artwork. In some sense, shape, the external and physical form, often can be manipulated and creates illusion of three dimensions on a two dimensional surface and also appear on the surface of a three dimensional.
The massive, quirky and phallic sculpture ‘Rock Drill’ by Jacob Epstein is certainly a perfect example of three dimensional works transformed into two dimensions first, and then transformed back to three dimensions. The idea of ‘Rock Drill’ first encountered the talented young sculptor in the pre war days, it was created due he his ardour for machinery and perhaps his sexual craziness. The central shape of this masterpiece is triangular, the kickstand of the machine gun gathers together into the genitalia point which is extremely priapic. In addition, the triangular shape is also a sinister figure Personally, I think the triangular shape of this piece subtly indicates the theme, which are phallism and gender domination.
Formal Elements(Colour)
Colour
It is the visual perceptual property, the most profound, influential and originative visual element. In my opinion, the hidden beauty of colour is the varied response from each individual. Commonly, when we observe and record colours, they are reflected from the source. This indicates an interesting fact, which is the difference and misunderstanding between the optically information we receive and the objective reality. Whatever the source, the colour we optically receive will always have a certain hue (name), intensity (purity), value (range of lightness) and saturation (brightness or dullness).
It is the visual perceptual property, the most profound, influential and originative visual element. In my opinion, the hidden beauty of colour is the varied response from each individual. Commonly, when we observe and record colours, they are reflected from the source. This indicates an interesting fact, which is the difference and misunderstanding between the optically information we receive and the objective reality. Whatever the source, the colour we optically receive will always have a certain hue (name), intensity (purity), value (range of lightness) and saturation (brightness or dullness).As can be observed, the sculpture’s surface is mainly grey and perhaps shows a grizzly colour in the lighter area. The darker grey under its wings perfectly contrasts with the light reflected on the edge o, which exquisitely creates a sense of solidness in the sculpture. In addition, the colour also gradually changes according to the shape and therefore forms tridimensional tactile sensation.
Formal Elements
Lines
As one of the fundamental constituents of visual elements, line, the ‘straight curve’, the continuous and one-dimensional figure, is in some sense the ‘primogenitor’ of a piece of art. Throughout the innovation and development of art, we can always identify an intriguing phenomenon, which is the involvement and evolvement
of lines. Indeed, perhaps a line is only just a single and infinitely-extending path. Yet when lines are combined together, their paths are grouped in totally dissimilar ways which result in limitless possibilities. In my own opinion, the similarity and connection between human nature and line is enigmatical and substantial. The twosideness that is deeply buried in every human soul is the same in lines, it can be simple or sophisticated, it may be expressed serenely or frantically and the path can be rigid or relaxed. In this particular sculpture, the simplicity of the curved edge lines perhaps stresses the need of reduction of complex sculptural techniques to ensure that both contained and expressed emotions hidden in this piece of art can be liberated. In addition, the loose curve makes the contrast and light and shadow less obvious. Thus the sculpture seems more smooth, relaxed and disimpassioned and assists the viewers to appreciate the sanctity of nature. Moreover, the fascinating fact of this piece is the sense of primitivism triggered by the inconspicuous edges and outlines; it is somehow in harmony with its surroundings.
As one of the fundamental constituents of visual elements, line, the ‘straight curve’, the continuous and one-dimensional figure, is in some sense the ‘primogenitor’ of a piece of art. Throughout the innovation and development of art, we can always identify an intriguing phenomenon, which is the involvement and evolvement
of lines. Indeed, perhaps a line is only just a single and infinitely-extending path. Yet when lines are combined together, their paths are grouped in totally dissimilar ways which result in limitless possibilities. In my own opinion, the similarity and connection between human nature and line is enigmatical and substantial. The twosideness that is deeply buried in every human soul is the same in lines, it can be simple or sophisticated, it may be expressed serenely or frantically and the path can be rigid or relaxed. In this particular sculpture, the simplicity of the curved edge lines perhaps stresses the need of reduction of complex sculptural techniques to ensure that both contained and expressed emotions hidden in this piece of art can be liberated. In addition, the loose curve makes the contrast and light and shadow less obvious. Thus the sculpture seems more smooth, relaxed and disimpassioned and assists the viewers to appreciate the sanctity of nature. Moreover, the fascinating fact of this piece is the sense of primitivism triggered by the inconspicuous edges and outlines; it is somehow in harmony with its surroundings.Exhibition Review (Personal response)
Throughout my visit to the Royal Academy of arts, I completed a gallery sheet to reflect my comprehension of the exhibition. The artist that I chose to study further in the gallery sheet is Henri Gaudier-Brzeska. In my opinion, Gaudier’s most illustrated work is the red stone dancer; therefore, I then applied my pencil skills into a vividly and delicately drawn sketch of this master piece. As I first glanced at this marvelous sculpture, various words came across my mind – ‘surreal’, ‘naturalistic’, ‘spontaneous’ and ‘primitivism’. The red stone dancer first attracted me by its exotic feeling and based on the combination of Aztec geometry and Indian gracefulness. Moreover, this mast piece is also a typical vorticism work, which is loosely curved and reflects the artist’s versatility and innovation in its range from Cubist abstraction to primitivism. In fact, its geometric simplification stresses the need of reduction of complex sculptural techniques, so what both expressed and contained emotions hidden in the work can be released. As Gaudier’s most representational piece of art, the ‘Red Stone Dancer’ can also be linked with the other masterpieces such as ‘Bird Devouring a Fish’. To develop my understanding of Gaudier’s work, I also completed another biro sketch of this piece of art, again, this masterpiece was loosely curved to enhance its visual and aesthetic effectiveness. Overall, I think the ‘wild thing’ assisted me to comprehend the connotation of the extraordinary and delicate sculpture and also reinforced my knowledge of the fateful modern-art threesome who totally changed the course of British sculpture. Furthermore, it is the spirit and passion of these three tremendous and phenomenal stone carvers which inspired sculptors in the future, and also, paving the way for the rise of Henry Moore and Barbara Hepworth.
Exhibition Review (Artists)
Title – Wild Thing
Gallery – Royal Academy of Art
'A well-made young wolf or some soft-moving bright-eyed wild thing” – The Royal Academy of art has chosen to use Ezra Pound’s vivid and powerful description of the precocious sculptor Henri Gaudier- Brezeska as the name of its exhibition of the three pioneers who entirely changed the course of British modern sculpture. This exhibition which I experienced with my very passion and curiosity to modern sculpture featured spectacular and quintessential work from three talented young stone carvers – Eric Gill, Henri Gaudier and Jacob Epstein.
This exhibition first caught my eyes by the quirky title and the appearance of the name Eric Gill. It is almost universally acknowledged that Gill is one of the most absurd, grotesque and exceptional sculptor in the twentieth century. As Waldemar Januszczak suggested in Sunday Times, he is a ‘ridiculous’ artist and a ‘sick wild thing’. The first piece of work by Gill which deeply attracted me was a snake-hipped, feeble and powerless Christ with the genital of a baby, who seems frightened on the cross. On the side of this piece, Gill also provided a short matching inscription ‘some eunuchs were born from their mother’s womb; some eunuchs were made eunuchs of men; and some eunuchs have made themselves eunuchs for the kingdom of heaven’s sake.’ This was then translated by Gill as ‘Christ became a eunuch to save us’, which perhaps emphasises ‘it is the thinking of a crackpot’, as Waldemar Januszczak stated. Indeed, what Gill demonstrated through his sculptural work, his grotesque libidinousness to religious art and his frenzied, eccentric behaviour is absolutely bizarre and perhaps not necessarily recognised by most people. Nevertheless, As Richard Dorment indicated in the Telegraph, Gill is ‘the most technically accomplished of these three artists’. In fact, it was Gill’s sensuous, affectionate, and passionate response to the natural world what primarily inspired Gaudier- Brezeska.
Perhaps Gaudier-Brzeska was the least controversial stone carver out of the three of them. It is Gaudier’s extraordinary intelligence and exquisite designs that amazed everyone of us. Personally, I think one of the most powerful and effective work by Gaudier is ‘Bird devouring a Fish’. One on hand, it seems to be based on primarily maquette; one the other hand, it also appears to be directly curved and designed during the process of curving.
Modernism was young. Gaudier was young. And the two of them encountered and exploded into action. Red stone dancer, the fabrication of intellectual brilliance and the superb combination of Aztec geometry and Indian gracefulness, completely reflects the peerless capacity of Gaudier. As the independent stated, ‘It is easy to say of an artist who died at 23 that, had he lived, he would have been the greatest of his cohort; but everything about Gaudier-Brzeska suggests this to be true.’ We look at his Red Stone Dancer and we mourn.
Jacob Epstein, an avant-garde of modern British sculpture, was the leader of the three stone carvers. In fact, both Gaudier-Brezeska and Gill owe their preference for sculpture to the example of Jacob Epstein, who invented the methods in Britain. Unlike Gill, his talent in sculpture was widely recognised. However, his disordered sexual relationships and craziness was criticised by the media, which fortunately, never hurt the young artist.
Rock drill, one of Epstein’s most illustrated masterpieces, is displayed in the centre of the exhibition. As the first representation of a robot in art, rock drill experienced controversy and inevitably faced criticism. As Richard Dorment stated, ‘those who first saw the statues were shocked by what looked to them like a big, aggressive phallic symbol’. Indeed, this masterpiece certainly represents Epstein’s sexual insanity and his quirky imagination. Yet when Epstein’s tremulousness, weirdness, and his talent get into step, the collaboration of these characteristics can be unexpectedly awesome. In my own view, I agree with Waldermar’s view that ‘the Rock Drill is probably the single most inventive piece of sculpture to be made in Britain.’ It is doubtlessly astonishing.
Personally, I think this exhibition is extremely through provoking and tremendously fascinating. As I first entered the exhibition, I glanced at the remarkable and striking ‘Rock Drill’ by Jacob Epstein and immediately I knew that this is not only well advertised but also with intriguing masterpieces, which can be explored in various ways. Throughout the exhibition, the spectacular and exquisite master-pieces, including Epstein’s robotic masterpiece Rock Drill, Gaudier-Brzeska’s innovative carving of Birds Erect, and Gill’s controversial carving of the sexual act Ecstasy completely amazed me and also revealed the impact of these sculptors on modern British sculpture. However, the only flaw that I discovered is the lack of space. In my opinion, these masterpieces should be more spread out to enable the audience to view and appreciate the artists’ work from diverse angles and distance.
Gallery – Royal Academy of Art
'A well-made young wolf or some soft-moving bright-eyed wild thing” – The Royal Academy of art has chosen to use Ezra Pound’s vivid and powerful description of the precocious sculptor Henri Gaudier- Brezeska as the name of its exhibition of the three pioneers who entirely changed the course of British modern sculpture. This exhibition which I experienced with my very passion and curiosity to modern sculpture featured spectacular and quintessential work from three talented young stone carvers – Eric Gill, Henri Gaudier and Jacob Epstein.
This exhibition first caught my eyes by the quirky title and the appearance of the name Eric Gill. It is almost universally acknowledged that Gill is one of the most absurd, grotesque and exceptional sculptor in the twentieth century. As Waldemar Januszczak suggested in Sunday Times, he is a ‘ridiculous’ artist and a ‘sick wild thing’. The first piece of work by Gill which deeply attracted me was a snake-hipped, feeble and powerless Christ with the genital of a baby, who seems frightened on the cross. On the side of this piece, Gill also provided a short matching inscription ‘some eunuchs were born from their mother’s womb; some eunuchs were made eunuchs of men; and some eunuchs have made themselves eunuchs for the kingdom of heaven’s sake.’ This was then translated by Gill as ‘Christ became a eunuch to save us’, which perhaps emphasises ‘it is the thinking of a crackpot’, as Waldemar Januszczak stated. Indeed, what Gill demonstrated through his sculptural work, his grotesque libidinousness to religious art and his frenzied, eccentric behaviour is absolutely bizarre and perhaps not necessarily recognised by most people. Nevertheless, As Richard Dorment indicated in the Telegraph, Gill is ‘the most technically accomplished of these three artists’. In fact, it was Gill’s sensuous, affectionate, and passionate response to the natural world what primarily inspired Gaudier- Brezeska.
Perhaps Gaudier-Brzeska was the least controversial stone carver out of the three of them. It is Gaudier’s extraordinary intelligence and exquisite designs that amazed everyone of us. Personally, I think one of the most powerful and effective work by Gaudier is ‘Bird devouring a Fish’. One on hand, it seems to be based on primarily maquette; one the other hand, it also appears to be directly curved and designed during the process of curving.
Modernism was young. Gaudier was young. And the two of them encountered and exploded into action. Red stone dancer, the fabrication of intellectual brilliance and the superb combination of Aztec geometry and Indian gracefulness, completely reflects the peerless capacity of Gaudier. As the independent stated, ‘It is easy to say of an artist who died at 23 that, had he lived, he would have been the greatest of his cohort; but everything about Gaudier-Brzeska suggests this to be true.’ We look at his Red Stone Dancer and we mourn.
Jacob Epstein, an avant-garde of modern British sculpture, was the leader of the three stone carvers. In fact, both Gaudier-Brezeska and Gill owe their preference for sculpture to the example of Jacob Epstein, who invented the methods in Britain. Unlike Gill, his talent in sculpture was widely recognised. However, his disordered sexual relationships and craziness was criticised by the media, which fortunately, never hurt the young artist.
Rock drill, one of Epstein’s most illustrated masterpieces, is displayed in the centre of the exhibition. As the first representation of a robot in art, rock drill experienced controversy and inevitably faced criticism. As Richard Dorment stated, ‘those who first saw the statues were shocked by what looked to them like a big, aggressive phallic symbol’. Indeed, this masterpiece certainly represents Epstein’s sexual insanity and his quirky imagination. Yet when Epstein’s tremulousness, weirdness, and his talent get into step, the collaboration of these characteristics can be unexpectedly awesome. In my own view, I agree with Waldermar’s view that ‘the Rock Drill is probably the single most inventive piece of sculpture to be made in Britain.’ It is doubtlessly astonishing.
Personally, I think this exhibition is extremely through provoking and tremendously fascinating. As I first entered the exhibition, I glanced at the remarkable and striking ‘Rock Drill’ by Jacob Epstein and immediately I knew that this is not only well advertised but also with intriguing masterpieces, which can be explored in various ways. Throughout the exhibition, the spectacular and exquisite master-pieces, including Epstein’s robotic masterpiece Rock Drill, Gaudier-Brzeska’s innovative carving of Birds Erect, and Gill’s controversial carving of the sexual act Ecstasy completely amazed me and also revealed the impact of these sculptors on modern British sculpture. However, the only flaw that I discovered is the lack of space. In my opinion, these masterpieces should be more spread out to enable the audience to view and appreciate the artists’ work from diverse angles and distance.
Ways of seeing - John Berger
Throughout one of John Berger’s most influential, remarkable and insightful publication ‘ways of seeing’, he confronts and mainly focuses on several aspect of art and how the art subjects are observed and perceived differently by varied people in different time and space. In addition, he also challenges the traditional western aesthetic views and questions the meaning of reality in the modern world. To illustrate and enhance his views, he utilises oil painting as an example to explain how art is related to and influenced by sexuality, realism and capitalism.
Berger makes an argument that social and political forces are responsible for shaping the values and ideology in artwork. In a world full of reproductions, the currency of art is so much a part of our culture that we barely notice it. In some sense, the oil paintings are a chose in possession which can be traded in the market. This therefore suggests that art is tightly connected with the development of capitalism as capitalism is based on the production of products for trading.
In the fifth chapter, John Berger detailedly illuminates the symbolisation of sexuality in paintings are deeply penetrated by power. He suggests that nudity isn’t necessarily the starting point of a painting, but the method of viewing it achieves. In the ordinary European nude paintings, the main characters (often assumed as male) will never appear on the canvas as they are the appreciator. According to Berger’s argument, the representation of nudity can almost be seen as an invitational gesture and the female characters in the paintings are passive and powerless, which therefore proves the penetration of power and gender inequality in these traditional paintings.
In my opinion, ‘ways of seeing’ itself is a remarkable and sensational piece of art. It not only contains brilliant insights into our perceptions of the things around us, it also criticizes the traditional concepts in art and how art con be influenced by various factors in our society. As one of the most influential art critic, Berger precisely and directly pointed out the relationship between vision and culture and the hidden ideologies in visual images. As can be observed, ways of seeing has used the most delicate and subtle language to address many complicated issues which includes politics, literacy, art, media and capitalism. Personally, I believe that ‘ways of seeing’ has completely altered my views towards observation and has widened my vision. It encourages me to observe art in various aspects and certainly raised some intricate questions in my mind. When representation is simply reproducing the world, what should we choose to observe? How can reality and imagination be distinguished from each other? And why politics and social hierarchy are extremely influential in terms of art.
Berger makes an argument that social and political forces are responsible for shaping the values and ideology in artwork. In a world full of reproductions, the currency of art is so much a part of our culture that we barely notice it. In some sense, the oil paintings are a chose in possession which can be traded in the market. This therefore suggests that art is tightly connected with the development of capitalism as capitalism is based on the production of products for trading.
In the fifth chapter, John Berger detailedly illuminates the symbolisation of sexuality in paintings are deeply penetrated by power. He suggests that nudity isn’t necessarily the starting point of a painting, but the method of viewing it achieves. In the ordinary European nude paintings, the main characters (often assumed as male) will never appear on the canvas as they are the appreciator. According to Berger’s argument, the representation of nudity can almost be seen as an invitational gesture and the female characters in the paintings are passive and powerless, which therefore proves the penetration of power and gender inequality in these traditional paintings.
In my opinion, ‘ways of seeing’ itself is a remarkable and sensational piece of art. It not only contains brilliant insights into our perceptions of the things around us, it also criticizes the traditional concepts in art and how art con be influenced by various factors in our society. As one of the most influential art critic, Berger precisely and directly pointed out the relationship between vision and culture and the hidden ideologies in visual images. As can be observed, ways of seeing has used the most delicate and subtle language to address many complicated issues which includes politics, literacy, art, media and capitalism. Personally, I believe that ‘ways of seeing’ has completely altered my views towards observation and has widened my vision. It encourages me to observe art in various aspects and certainly raised some intricate questions in my mind. When representation is simply reproducing the world, what should we choose to observe? How can reality and imagination be distinguished from each other? And why politics and social hierarchy are extremely influential in terms of art.
Henri Guardier Brzeska & Eric Gill
Henri Gaudier Brzeska
He is one of the most sensational, remarkable and precocious stone carver in the early twentieth century. Throughout his career, he developed a rough hewn,
primitive style of direct carving. Gaudier was also involved in the vorticism movement with Erza Pound and Wyndham Lewis, and became a cofounder of the ‘London Group’. He advocated that sculpture should leave behind the highly finished, polished style of ancient Greece and embrace a more earthy direct carving, in which the tool marks are left visible on the final work as a fingerprint of the artist. This is from his original admiration for the work of Auguste Rodin.
Eric Gill
Eric Gill was one of the most colourful figures in early 20th century art, despite the majority of his prints being in black and white. Sculptor, typographer, and writer, it was the unequalled clarity of line of his engravings that have made his work so sought after. Gill’s subject matter swung between the deeply religious and the highly erotic, a direct echo of his eccentric life.
He is one of the most sensational, remarkable and precocious stone carver in the early twentieth century. Throughout his career, he developed a rough hewn,
primitive style of direct carving. Gaudier was also involved in the vorticism movement with Erza Pound and Wyndham Lewis, and became a cofounder of the ‘London Group’. He advocated that sculpture should leave behind the highly finished, polished style of ancient Greece and embrace a more earthy direct carving, in which the tool marks are left visible on the final work as a fingerprint of the artist. This is from his original admiration for the work of Auguste Rodin.Eric Gill
Eric Gill was one of the most colourful figures in early 20th century art, despite the majority of his prints being in black and white. Sculptor, typographer, and writer, it was the unequalled clarity of line of his engravings that have made his work so sought after. Gill’s subject matter swung between the deeply religious and the highly erotic, a direct echo of his eccentric life.
Tuesday
Barbara Hepworth
The 'Queen' of British 20th century sculpture
Digging around the 20th century contemporary art online musuem days ago, I came across an unique, passionate and intelligent sculptor - Barbara Hepworth. As one of the most important figure in the development of Britains abstract art, her sculptural work demonstrates the deep understanding of her material and also associate with my primary idea of spherical shapes.
In addition, Hepworth's work exemplifies Modernism and her style were also influenced by other comtemperary sculptors such as Henry Moore, Ben Nicholson and Naum Gabo. Throughout Hepworth's career, she used various materials in her sculptural designs, as she gained more experience, she gradually changed her material from marble to bronze. Personally, I think her intension to use bronze instead in the late years of her career is to enable herself to manipulate with the shapes more freely.
Digging around the 20th century contemporary art online musuem days ago, I came across an unique, passionate and intelligent sculptor - Barbara Hepworth. As one of the most important figure in the development of Britains abstract art, her sculptural work demonstrates the deep understanding of her material and also associate with my primary idea of spherical shapes.In addition, Hepworth's work exemplifies Modernism and her style were also influenced by other comtemperary sculptors such as Henry Moore, Ben Nicholson and Naum Gabo. Throughout Hepworth's career, she used various materials in her sculptural designs, as she gained more experience, she gradually changed her material from marble to bronze. Personally, I think her intension to use bronze instead in the late years of her career is to enable herself to manipulate with the shapes more freely.
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